This seems to be the kind of
belt mentioned in line 274.
belt mentioned in line 274.
Ovid - Art of Love
He seems to allude here
to a game played by putting marbles (which seems to be the meaning of
'pilae leves,' 'smooth balls,') into a net with the month open, and then
taking them out one by one without moving any of the others. ]
[Footnote 1077: Kind of game. --Ver. 363. These two lines do not seem to
be connected with the game mentioned in 1. 365, but rather to refer to
that mentioned in 1. 355. ]
[Footnote 1078: A little table receives. }--Ver. 365. This game is
mentioned in the Tristia, Book ii. 1. 481. It seems to resemble the
simple game played by schoolboys on the slate, and known among them as
tit-tat-to. ]
[Footnote 1079: No trusting. --Ver. 377. On account of the continued run
of bad luck. ]
[Footnote 1080: Flying ball. '--Ver. 380. See the Tristia, Book ii. 1.
485-6, and the Note. ]
[Footnote 1081: The Virgin. --Ver. 385. This was near the Campus Martius.
See the Fasti, Book i. 1. 464; and the Pontic Epistles, Book i. Ep.
viii. 1. 38, and the Note. ]
[Footnote 1082: Etrurian. --Ver. 386. The Tiber flowed through ancient
Etruria. ]
[Footnote 1083: The Virgin. --Ver. 388. He alludes to the heat while the
sun is passing through the Constellation Virgo. ]
[Footnote 1084: Paraetonium. --Ver. 390. See the Amores, Book ii. El.
xiii. 1. 7, and the Note. He alludes to the victory of Augustus over
Antony and Cleopatra, at Actium; on which the conqueror built the temple
of Apollo on the Palatine hill. ]
[Footnote 1085: The suter and the wife. --Ver. 391. Livia, the wife, and
Octavia, the sister of Augustus, are referred to. ]
[Footnote 1086: His son-in-law. --Ver. 392. The allusion is to M.
Agrippa, the husband of Julia, the daughter of Augustus; after the
defeat of the younger Pompey, Augustus presented him with a naval crown.
A Portico built by Augustus was called by his name. ]
[Footnote 1087: Memphian heifer. --Ver. 393. See the Amores, Book i. El.
viii. 1. 74. ]
[Footnote 1088: Frequent the three Theatres. --Ver. 394. He probably
alludes to the theatres of Pompey, Balbus, and Marcellus, as they are
mentioned by Suetonius as the 'trina theatra. ']
[Footnote 1089: Glowing wheels. --Ver. 396. See the Amores, Book iii. El.
ii. ]
[Footnote 1090: Thamyras. --Ver. 399. He was a Thracian poet, who
challenged the Muses to sing, and, according to Homer, was punished with
madness. Diodorus Siculus says that he lost his voice, while the Roman
poets state that he lost his sight. Amoebeus was a famous lute-player of
Athens. ]
[Footnote 1091: Of Cos. --Ver. 401. See the Pontic Epistles, Book iv. Ep.
i. 1. 29. ]
[Footnote 1092: Poets were. --Ver. 405. Euripides was the guest of
Archelaus king of Macedonia, Anacreon of Polycrates king of Samos, and
Pindar and Bacchilides of Hiero king of Sicily. ]
[Footnote 1093: Placed near to thee. --Ver. 410. According to some
accounts, the ashes of Ennius were deposited in the tomb of the Scipios,
by the older of his friend Scipio Africanus. ]
[Footnote 1094: Its own Priam. --Ver. 440. Priam and Antenor advised that
Helen should be restored to Menelaus. ]
[Footnote 1095: Liquid nard. --Ver. 443. There were two kinds of nard,
the 'foliated,' and the 'spike' nard. It was much esteemed as a perfume
by the Romans. ]
[Footnote 1096: Narrow belt. --Ver. 444. He probably means a girdle that
fitted tightly, and caused the 'toga' to set in many creases. See the
Notes to the Fasti, Book v. 1. 675. ]
[Footnote 1097: And many a ring. --Ver. 446. 'alter et alter. ' Literally,
one and another. ]
[Footnote 1098: Some thief. --Ver. 447. Among its other refinements, Rome
seems to have had its swell mob. ]
[Footnote 1099: Thou, Venus--Ver. 451. This temple is referred to in the
First Book, 1. 81--87. Its vicinity was much frequented by courtesans. ]
[Footnote 1101: You, ye Goddesses. --Ver. 452. He probably alludes to
the Nymphs whose statues were near the Appian aqueduct, mentioned in the
81st Une of the First Book. The Delphin Editor absolutely thinks
that the 'pro-fessae,' or courtesans, are themselves alluded to as the
'Appiades Deae. ']
[Footnote 1102: Theseus. --Ver. 457. Who deserted Ariadne. ]
[Footnote 1103: Of Inachus. --Ver. 464. Isis, or To. Seo the
Metamorphoses, Bk. i. ]
[Footnote 1104: To deceive your husbands. --Ver. 484. It is not
improbable that 'viros' here means merely 'keepers,' and not 'husbands,'
especially as he alludes to their being without the privilege of the
'vitta,' which the matrons wore. ]
[Footnote 1105: Two hands. --Ver. 496. He means, that the writing of
the lover must be quite erased before she pens her answer on the same
tablets. ]
[Footnote 1106: Hence, avaunt. --Ver. 505. See the Fasti, Book vi. 1.
696. * Laying aside his foils. --Ver. 515. The 'rudis' was a stick, which
soldiers and persons exercising used in mimic combat, probably like our
foil or singlestick. ]
[Footnote 1107: With Tecmessa. --Ver. 517. She was taken captive by Ajax,
and probably had good reason to be sorrowful. ]
[Footnote 1108: The twig of vine. --Ver. 527. He alludes to the
Centurions, who had the power of inflicting corporal punishment, from
which circumstance their badge of office was a vine sapling. ]
[Footnote 1109: Nemesis. --Ver. 536. Nemesis was the mistress of
Tibullus. See the Amores, Book iii. El. ix. Cynthia was the mistress of
Propertius and Lycoris of Gallus. ]
[Footnote 1110: Shut your door. --Ver. 587. He addresses the husband,
whom he supposes to be wearied with satiety. ]
[Footnote 1111: Than even Thais. --Ver. 604. Thais seems to have been
a common name with the courtesans of ancient times. Terence, in his
Eunuchus, introduces one of that name, who is pretty much of the free
and unrestrained character here depicted. ]
[Footnote 1112: Lictor's rod. --Ver. 615. This conferred freedom on the
slave who was touched with it. See the Fasti, Book vi. 1. 676, and the
Note, lie means, that free-born women are worthy to become wives; but
'libertinae,' or 'freed-women,' are only fit to become 'professae,' or
'courtesans,' when they may sin with impunity, so far as the laws are
concerned. ]
[Footnote 1113: Broad girth. --Ver. 622.
This seems to be the kind of
belt mentioned in line 274. ]
[Footnote 1114: Stalk of wetted flax. --Ver. 629. According to the common
reading, this will mean that the letter is to be written on blank paper,
with a stalk of wetted flax; which writing will afterwards appear, when
a black substance is thrown upon it. Heinsius insists that the passage
is corrupt, and suggests that 'alumine nitri' is the correct reading; in
which case it would mean that alum water is to be used instead of ink.
Vessius tells us that alum water, mixed with the juice of the plant
'tithymalum,' was used for the purposes of secret correspondence. ]
[Footnote 1115: Good Goddess. --Ver. 637. The debauched Clodius was
detected as being present at these rites, in a female dress. ]
[Footnote 1116: The false key, too, tells. --Ver. 643. He plays upon the
double meaning of the words, 'adultera clavis,' which properly signifies
'a false key. ']
[Footnote 1117: Even though. --Ver. 646. 'Even though you should have
to go to the expense of providing the rich wines of Spain for the
purpose. ']
[Footnote 1118: Even she. --Ver. 663. He alludes to the accommodating
lady mentioned in line 641. ]
[Footnote 1119: Has she filled. --Ver. 666. See his address to Cypassis,
in the Amores, Book ii. El. viii. ]
[Footnote 1120: Lemnian dames. --Ver. 672. See the introduction to the
Epistle from Hypsipyle to Jason. ]
[Footnote 1121: Cephaltis. --Ver. 695. This story is also related in the
Seventh Book of the Metamorphoses. ]
[Footnote 1122: The quinces. --Ver. 705. These are called 'cydonia,' from
Cydon, city of Crete. ]
[Footnote 1123: Cyllenian God. --Ver. 725. Cephalus was said to be the
son of Mercury; but, according to one account, which is followed by Ovid
in the Metamorphoses, Deioneus was his father. ]
[Footnote 1124: Her breath. --Ver. 746. See the corresponding passage in
the Metamorphoses, Book vii. 1. 861. It was the custom for the nearest
relative to catch the breath of the dying person in the mouth. ]
[Footnote 1125: With your fingers. --Ver. 755. . Perhaps he means in
moderato quantities at a time, and not in whole handfuls. See the Note
to the First Book, 1. 577. ]
[Footnote 1126: And do not first. --Ver. 757. He seems to irs two
precepts here; first, they are not to eat so much at home as to take
away all appetite at the banquet, as that would savour of affectation,
and be an act of rudeness to the host. On the other hand, he warns them
not to stuff as long as they are able, but rather to leave off with an
appetite. The passage, however, is hopelessly corrupt, and is capable of
other interpretations. ]
[Footnote 1127: Perform their duty. --Ver. 764. 'Constent,' literally.
'Will stand together. ']
[Footnote 1128: The swans. --Ver. 899. He also alludes to them in the
Metamorphoses, as drawing the car of Venus, though that office was more
generally assigned by the Poets to doves. ]
END
End of Project Gutenberg's Ars Amatoria, or The Art Of Love, by Ovid
*** END OF THIS PROJECT GUTENBERG EBOOK ARS AMATORIA, OR THE ART OF LOVE ***
***** This file should be named 47677-8. txt or 47677-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/4/7/6/7/47677/
Produced by David Widger from page images generously
provided by the Internet Archive
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License available with this file or online at
www. gutenberg. org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.
1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.
1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1. E. Unless you have removed all references to Project Gutenberg:
1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.
1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.
1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.
1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1. F.
1. F.
to a game played by putting marbles (which seems to be the meaning of
'pilae leves,' 'smooth balls,') into a net with the month open, and then
taking them out one by one without moving any of the others. ]
[Footnote 1077: Kind of game. --Ver. 363. These two lines do not seem to
be connected with the game mentioned in 1. 365, but rather to refer to
that mentioned in 1. 355. ]
[Footnote 1078: A little table receives. }--Ver. 365. This game is
mentioned in the Tristia, Book ii. 1. 481. It seems to resemble the
simple game played by schoolboys on the slate, and known among them as
tit-tat-to. ]
[Footnote 1079: No trusting. --Ver. 377. On account of the continued run
of bad luck. ]
[Footnote 1080: Flying ball. '--Ver. 380. See the Tristia, Book ii. 1.
485-6, and the Note. ]
[Footnote 1081: The Virgin. --Ver. 385. This was near the Campus Martius.
See the Fasti, Book i. 1. 464; and the Pontic Epistles, Book i. Ep.
viii. 1. 38, and the Note. ]
[Footnote 1082: Etrurian. --Ver. 386. The Tiber flowed through ancient
Etruria. ]
[Footnote 1083: The Virgin. --Ver. 388. He alludes to the heat while the
sun is passing through the Constellation Virgo. ]
[Footnote 1084: Paraetonium. --Ver. 390. See the Amores, Book ii. El.
xiii. 1. 7, and the Note. He alludes to the victory of Augustus over
Antony and Cleopatra, at Actium; on which the conqueror built the temple
of Apollo on the Palatine hill. ]
[Footnote 1085: The suter and the wife. --Ver. 391. Livia, the wife, and
Octavia, the sister of Augustus, are referred to. ]
[Footnote 1086: His son-in-law. --Ver. 392. The allusion is to M.
Agrippa, the husband of Julia, the daughter of Augustus; after the
defeat of the younger Pompey, Augustus presented him with a naval crown.
A Portico built by Augustus was called by his name. ]
[Footnote 1087: Memphian heifer. --Ver. 393. See the Amores, Book i. El.
viii. 1. 74. ]
[Footnote 1088: Frequent the three Theatres. --Ver. 394. He probably
alludes to the theatres of Pompey, Balbus, and Marcellus, as they are
mentioned by Suetonius as the 'trina theatra. ']
[Footnote 1089: Glowing wheels. --Ver. 396. See the Amores, Book iii. El.
ii. ]
[Footnote 1090: Thamyras. --Ver. 399. He was a Thracian poet, who
challenged the Muses to sing, and, according to Homer, was punished with
madness. Diodorus Siculus says that he lost his voice, while the Roman
poets state that he lost his sight. Amoebeus was a famous lute-player of
Athens. ]
[Footnote 1091: Of Cos. --Ver. 401. See the Pontic Epistles, Book iv. Ep.
i. 1. 29. ]
[Footnote 1092: Poets were. --Ver. 405. Euripides was the guest of
Archelaus king of Macedonia, Anacreon of Polycrates king of Samos, and
Pindar and Bacchilides of Hiero king of Sicily. ]
[Footnote 1093: Placed near to thee. --Ver. 410. According to some
accounts, the ashes of Ennius were deposited in the tomb of the Scipios,
by the older of his friend Scipio Africanus. ]
[Footnote 1094: Its own Priam. --Ver. 440. Priam and Antenor advised that
Helen should be restored to Menelaus. ]
[Footnote 1095: Liquid nard. --Ver. 443. There were two kinds of nard,
the 'foliated,' and the 'spike' nard. It was much esteemed as a perfume
by the Romans. ]
[Footnote 1096: Narrow belt. --Ver. 444. He probably means a girdle that
fitted tightly, and caused the 'toga' to set in many creases. See the
Notes to the Fasti, Book v. 1. 675. ]
[Footnote 1097: And many a ring. --Ver. 446. 'alter et alter. ' Literally,
one and another. ]
[Footnote 1098: Some thief. --Ver. 447. Among its other refinements, Rome
seems to have had its swell mob. ]
[Footnote 1099: Thou, Venus--Ver. 451. This temple is referred to in the
First Book, 1. 81--87. Its vicinity was much frequented by courtesans. ]
[Footnote 1101: You, ye Goddesses. --Ver. 452. He probably alludes to
the Nymphs whose statues were near the Appian aqueduct, mentioned in the
81st Une of the First Book. The Delphin Editor absolutely thinks
that the 'pro-fessae,' or courtesans, are themselves alluded to as the
'Appiades Deae. ']
[Footnote 1102: Theseus. --Ver. 457. Who deserted Ariadne. ]
[Footnote 1103: Of Inachus. --Ver. 464. Isis, or To. Seo the
Metamorphoses, Bk. i. ]
[Footnote 1104: To deceive your husbands. --Ver. 484. It is not
improbable that 'viros' here means merely 'keepers,' and not 'husbands,'
especially as he alludes to their being without the privilege of the
'vitta,' which the matrons wore. ]
[Footnote 1105: Two hands. --Ver. 496. He means, that the writing of
the lover must be quite erased before she pens her answer on the same
tablets. ]
[Footnote 1106: Hence, avaunt. --Ver. 505. See the Fasti, Book vi. 1.
696. * Laying aside his foils. --Ver. 515. The 'rudis' was a stick, which
soldiers and persons exercising used in mimic combat, probably like our
foil or singlestick. ]
[Footnote 1107: With Tecmessa. --Ver. 517. She was taken captive by Ajax,
and probably had good reason to be sorrowful. ]
[Footnote 1108: The twig of vine. --Ver. 527. He alludes to the
Centurions, who had the power of inflicting corporal punishment, from
which circumstance their badge of office was a vine sapling. ]
[Footnote 1109: Nemesis. --Ver. 536. Nemesis was the mistress of
Tibullus. See the Amores, Book iii. El. ix. Cynthia was the mistress of
Propertius and Lycoris of Gallus. ]
[Footnote 1110: Shut your door. --Ver. 587. He addresses the husband,
whom he supposes to be wearied with satiety. ]
[Footnote 1111: Than even Thais. --Ver. 604. Thais seems to have been
a common name with the courtesans of ancient times. Terence, in his
Eunuchus, introduces one of that name, who is pretty much of the free
and unrestrained character here depicted. ]
[Footnote 1112: Lictor's rod. --Ver. 615. This conferred freedom on the
slave who was touched with it. See the Fasti, Book vi. 1. 676, and the
Note, lie means, that free-born women are worthy to become wives; but
'libertinae,' or 'freed-women,' are only fit to become 'professae,' or
'courtesans,' when they may sin with impunity, so far as the laws are
concerned. ]
[Footnote 1113: Broad girth. --Ver. 622.
This seems to be the kind of
belt mentioned in line 274. ]
[Footnote 1114: Stalk of wetted flax. --Ver. 629. According to the common
reading, this will mean that the letter is to be written on blank paper,
with a stalk of wetted flax; which writing will afterwards appear, when
a black substance is thrown upon it. Heinsius insists that the passage
is corrupt, and suggests that 'alumine nitri' is the correct reading; in
which case it would mean that alum water is to be used instead of ink.
Vessius tells us that alum water, mixed with the juice of the plant
'tithymalum,' was used for the purposes of secret correspondence. ]
[Footnote 1115: Good Goddess. --Ver. 637. The debauched Clodius was
detected as being present at these rites, in a female dress. ]
[Footnote 1116: The false key, too, tells. --Ver. 643. He plays upon the
double meaning of the words, 'adultera clavis,' which properly signifies
'a false key. ']
[Footnote 1117: Even though. --Ver. 646. 'Even though you should have
to go to the expense of providing the rich wines of Spain for the
purpose. ']
[Footnote 1118: Even she. --Ver. 663. He alludes to the accommodating
lady mentioned in line 641. ]
[Footnote 1119: Has she filled. --Ver. 666. See his address to Cypassis,
in the Amores, Book ii. El. viii. ]
[Footnote 1120: Lemnian dames. --Ver. 672. See the introduction to the
Epistle from Hypsipyle to Jason. ]
[Footnote 1121: Cephaltis. --Ver. 695. This story is also related in the
Seventh Book of the Metamorphoses. ]
[Footnote 1122: The quinces. --Ver. 705. These are called 'cydonia,' from
Cydon, city of Crete. ]
[Footnote 1123: Cyllenian God. --Ver. 725. Cephalus was said to be the
son of Mercury; but, according to one account, which is followed by Ovid
in the Metamorphoses, Deioneus was his father. ]
[Footnote 1124: Her breath. --Ver. 746. See the corresponding passage in
the Metamorphoses, Book vii. 1. 861. It was the custom for the nearest
relative to catch the breath of the dying person in the mouth. ]
[Footnote 1125: With your fingers. --Ver. 755. . Perhaps he means in
moderato quantities at a time, and not in whole handfuls. See the Note
to the First Book, 1. 577. ]
[Footnote 1126: And do not first. --Ver. 757. He seems to irs two
precepts here; first, they are not to eat so much at home as to take
away all appetite at the banquet, as that would savour of affectation,
and be an act of rudeness to the host. On the other hand, he warns them
not to stuff as long as they are able, but rather to leave off with an
appetite. The passage, however, is hopelessly corrupt, and is capable of
other interpretations. ]
[Footnote 1127: Perform their duty. --Ver. 764. 'Constent,' literally.
'Will stand together. ']
[Footnote 1128: The swans. --Ver. 899. He also alludes to them in the
Metamorphoses, as drawing the car of Venus, though that office was more
generally assigned by the Poets to doves. ]
END
End of Project Gutenberg's Ars Amatoria, or The Art Of Love, by Ovid
*** END OF THIS PROJECT GUTENBERG EBOOK ARS AMATORIA, OR THE ART OF LOVE ***
***** This file should be named 47677-8. txt or 47677-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/4/7/6/7/47677/
Produced by David Widger from page images generously
provided by the Internet Archive
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License available with this file or online at
www. gutenberg. org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.
1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.
1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1. E. Unless you have removed all references to Project Gutenberg:
1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.
1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.
1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.
1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1. F.
1. F.
